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THE DAY SHALL COME (15) 88 minutes
CHRIS Morris doesn’t do things by halves. Over the past almost 30 years he has been arguably the most uncompromising satirist in British comedy.
The Day Today and Brass Eye are milestones of the nineties and naughties (although I’m sure Phil Collins and a certain Southend MP would disagree). No subject is taboo or safe, from paedophilia to terrorism.
In 2010, his feature film debut Four Lions took on suicide bombing through the eyes of a gang of inept jihadis from Sheffield.
But there is always an underlying message to the pee taking and The Day Shall Come expands the terror montage even further with the premise that after seeing how difficult it is to catch real terrorists, the FBI has decided to make its own from misfits living on the fringes of American society.
One such figure they have under surveillance is Moses Shabaz (Marchant Davis), a man who leads an army of four in a black jihad where guns are not allowed and the aim is to bring hope to the Miami projects.
He wears a shower curtain as a cloak and believes that the government has dinosaurs hidden in captivity which can be summoned by the sound of horns.
So when a benefactor comes forward with the promise of money to finance his fight and take his family out of poverty, he has no idea that this IS representative (which he firstly assumes stands for Inland Revenue Service) is actually in the pay of the FBI, whose plan – when they’re not trying to stitch each other up for their own advancement – is to arm him and his band of followers so they can arrest them on trumped up (no pun intended) terrorism charges.
But Moses is so delusional and, frankly, harmless, that he’s more concerned with getting a horse, which he thinks can talk, and promising his daughter doughnuts as a birthday treat. (“Not just the holes this time daddy”) than revolution bloodless or otherwise.
Behind these extreme but likeable characters lies a savage underbelly of manipulation which even cynical agent Kendra Glack (Anna Kendrick) finds hard to reconcile as black comedy becomes blacker by the minute.
Can this be resolved without bloodshed? By the end of The Day Shall Come you’re in little doubt about who the villains of the piece are.
Any writer will tell you that comedy is a serious business – and they don’t come any more serious than Chris Morris.